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"Music may achieve the highest of all mission: she may be a bond between nations, races, and states, who are strangers in many ways; she may unite what is disunited and bring peace to what is hostile."

Dr. Max Bendiner

"Legyen a zene mindenkié!"

"Let the music be everybody's!"

Kodály Zoltán

"A zene az emberiség univerzális nyelve."

“Music is the universal language of mankind”

Longfellow

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Kalyi Jag, Black Fire in English, play authentic Gypsy music and have been doing so for over 20 years. They are recognised as one of the foremost Gypsy folk ensembles in Eastern Europe today. The instruments they use are guitar, jug, board and oral improvisations. Traditional Gypsy music sung in Gypsy and Hungarian language.

Yiddish culture in east Europe today is but a dim shadow of its history and legacy, but it is not dead. Jewish communities exist - in diminished numbers - and Jewish life continues, not the least in the memories of an older generation who remember a world which spoke Yiddish. Di Naye Kapelye means The New Band in Yiddish. Di Naye Kapelye play old time Yiddish music from not so long ago. The klezmer music which defines modern Ashkenazic Jewish existence is the klezmer of America - especially New York. Old gramophone recordings document changes in instrumentation and repertoire as immigrant Jewish musicians adapted to new lives in the new world. In east Europe, however, folk traditions are strong, and Jewish music thrived as long as Jews had weddings. Di Naye Kapelye's music takes its character from east European kapelyes (yiddish for a small band) like the Bughici family band in Iasi, Romania, the Markus family band in Hungary, the Lantos Orchestra in Maramures, Romania, and other Jewish village bands who played in distinctively non-commercial, local styles. In many cases the Jewish musicians played alongside local Roma (Gypsies), and today in Hungary and Romania Gypsies are the main source for living practitioners of Jewish music. Some, like the Transylvanian fiddlers Samu Cilika Boross and Ferenc Arus, played for Jewish weddings when no Jewish band was available. Some, like Andras Horvath of Tiszakorod, Hungary, and Gheorghe and Vassile Covaci in Maramures, Romania, worked in Jewish bands before the war and learned the musical nuance of the local Hasidic courts (hoyfn). Hungary, is Di Naye Kapelye's home, and they come together through a surprising set of circumstances, many of them soaked in palinka - Hungarian plum brandy.

The Udrub Ensemble was formed in 2004 through the natural fusion of six exceptional professional musicians. The secret to the ensemble’s exotic and unique sound is a type of multicultural harmony that is ultimately a projection of each member’s Hungarian identity. Their love of eastern sounds is brought about by the kinship that is prevalent is the feeling world of Hungarian and eastern people, that inevitable define a new and fresh world music creation. Historically, the art world is just realizng its flowering through impressionism. The age of the Internet in our modern contemporary wold enables us to experience both our culture and the broader world around us, to ultimately promote the idea of peaceful coexistence. The Udrub ensemble’s composition’s artistic worth lies in the harmony of its authentic traditions and personal musical expressions, in which the strength of folk music, the refinement of classical music and the freedom of jazz unite.

"Innovators, renegades, survivors - within a few years, the Zydepunks have grown from underground heroes into one of New Orleans' most talked about bands. Yiddish riddles, Irish ballads, Cajun punk, and original songs in Spanish and German are a small demonstration of why they astound new audiences. Wild folk dances fronted by accordion and fiddle and backed by relentless drums and bass are a testament to the high-energy folk-punk dance craze that is a Zydepunks show.

The Zydepunks began in 2004 and quickly took the New Orleans music scene by storm with their speedy and amped-up versions of European and Louisiana folk music. Vocal stylings in six languages (German, French, Spanish, Yiddish, English, Portuguese) immediately set the band apart. Their own original work has given the band a more cohesive feel while staying true to their sound.

Sadly, no story about any contemporary New Orleans band is complete without mentioning the hurricane season of 2005. What was looking to be a breakout year for five young musicians coming off a national tour turned into a matter of pure survival. Three founding members ended up returning to New Orleans to houses that were miraculously untouched but a city that was forever mangled. With their lineup and future in doubt, the band managed to reunite for a performance at the New Orleans Voodoo Music Festival. A memorable nighttime show at the legendary Café Brazil gave notice that the old New Orleans might come back after all."

Róbert Lakatos approaches the works of Béla Bartók with as much respect as Barók himself once approached the treasure of Hungarian folk songs - by abstracting the stylistic characteristics of the folk melodies he had collected and classified, Bartók created one of the most significant life-works of 20th century classical music.The most interesting pieces on this album are those in which Róbert Lakatos has returned Bartók's musical works to their supposedly original, traditional rural musical enviroment. When he surprises us now and again with a well-formed improvisation or variation he shows us that folk music could not have developed, could not have reached the refined form which Barók became acquainted with if the individual achievements and ingenuity of various generations of village musicians had not contributed to a greater or lesser extent to the common musical treasure of the people.The musicians partnering Róbert Lakatos, apart from the outstandingly accomplished viola player László Mester, are all from the Uplands. (The Uplands of old Hungary, now in southern Slovaika.) We can enjoy the violin playing of Tamás Cseh, who is currently pursuing his studies in classical music, while his brother, Sándor Cseh, plays the cimbalom, which, together with the voice of Éva Korpás, is one of the leading contributors to the album's harmonious atmosphere. The carefully attentive accompaniment and lively dynamism provided by the double bass and accordion of Tibor Lelkes and the guitar and viola of Zoltán Hanusz give all this a solid foundation.

The Huun Huur Tu band from Tuva, Russia, practice the ancient technique of "xöömei" or throat-singing. Each vocalist simultaneously produced two distinct pitches: a lower drone and a high pitched flute-like sound. This is one of the world’s oldest forms of music making. We heard their ancient instruments and experienced the mellow beautiful tones that were exciting and yet very calming to the spirit. Instruments they use in their music include the igil, khomus, doshpuluur, tungur (shaman drum), and others.The xöömei quartet Kungurtuk was founded in 1992 by Kaigal-ool Khovalyg, brothers Alexander and Sayan Bapa, and Albert Kuvezin. Not long afterwards, the group changed its name to Huun-Huur-Tu, meaning "sunbeams" (lit. sun propeller). The focus of their music was traditional Tuvan folk songs, frequently featuring imagery of the Tuvan steppe or of horses.The ensemble released its first album, 60 Horses In My Herd, the following year. The album was recorded at studios in London and Mill Valley, California.